Luke Jordan (UK)

Primal Uproar III fundraiser (2018)

New River Studios, London (uk) 

photo by Xifel Zeraus‎

Primal Uproar III

MS Stubnitz, Hamburg (DE), 2018

photo by Naddy Sane


September 7th


Works of Luke Jordan take many forms; experimental sound, live art, installation, sculpture, photography, video and text; often combining many of these elements.

The artist is interested in speculations upon the temporality of the human as one among many decaying material forms, haunted by imagined pasts and futures, unexplored territories, communications with the unknown, and by the vast unknowable without and within the human body. His work incorporates manifestations of primal and cultural anxieties, in material decay, corruption and impurity through the emergence of hybrid forms and figures, disrupting the borders of the human, and of ‘civilization’.

His live performances are comprised of viscerally affective transmissions; the manifestation, binding and discharge of primal energies. The human and the non-human in anomalous entanglement and deformation between form and formlessness, actions and environments of detritus, raw materials, repurposed objects, artefacts and technologies, cacophony, spoken words, and unintelligible vocalisations. Encounters with marginal entities, pre- and post-human, spectres, demons of the irrational, which act as social, cultural and physical disruptions, agitations and provocations, collapsing the boundaries between inner and outer worlds. Luke’s performances are experiments in the foregrounding of a primordial emergence of possibilities from active polymorphous matter; the formation, dissolution or destruction of human identity and subjectivity within a hallucinatory world.

In a hybridisation of spiritualist séance, animist ritual and absurd improvisation a mixture of yeast, itself made up of single-celled microorganisms takes on the role of, and is conceptually linked to ectoplasm, along with a veil, covers the human face, hiding and deforming its features, becoming otherworldly and mask-like, whilst also disconnecting the human from the immediate surroundings through distortions to the senses.

Amplified glossolalia and vocal improvisation and spoken words are electronically channelled through a contemporary imagining of a ‘spirit trumpet’ (an object used in spiritualist seances as a means of communicating with the spirits of the dead), and other resonant objects in the environment producing a rhythmic cacophony, distorting and masking the human voice but also creating the potential for trance states along with the flickering light activated by these sounds.  Within various religious rituals and practices across cultures noise has been used as means to both call spirits and expel unwanted or evil spirits; and this contemporary ritual sits between séance, possession and exorcism. Along with this, tape recordings and live tape manipulation produce a soundscape for the performance.